Misha Aranyshev
Forum Replies Created
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One goal is to give your editing system the footage in the format it is most comfortable with. In case of FCP it would be QuickTime movies in ProRes codec. In case of Avid it would be DNxHD in MXF wrapper.
Another goal is to give editing system as mach metadata as possible. I’m not talking about exposure index and other image related stuff. That’s for colorist, not editor. I’m talking about timecode and reel name. Luckily both formats support sufficient amount of useful metadata. Still it is a good idea to burn this information into the picture. I recommend using above mentioned codecs because they support full raster HD. Both your colorist and your sound editor would appreciate a videoreference of the cut in high resolution.
When you make “digital workprint” from R3D files keep the original RED names. At some point you will have to reassemble your cut from R3D in a grading app and it could be something other than Apple Color. You may not know what flavor of XML that app support but you can be sure it supports CMX 3600 EDL. The problem is RED reel names are too long for CMX 3600. But the format supports file names in the comments so Nucoda Film Master for instance, can read them from the there.
The above is not the only workflow possible. I do it in this manner because our company has to live in the open ecosystem. A production orders “workprint” made and buys some storage space for “digital negative” initially but they usually plan on a director or may be a director’s nephew editing it. When they realize it doesn’t work they hire a freelancer and after that they come to us for polish. The same is with grading and VFX.
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It doesn’t bother me a bit. There is no black and white in real color negative neither. It is all shades of orange. What’s more important “digital negative” takes exactly the space in the pipeline film negative does.
You cannot view “digital negative” directly. You have to apply a debayer and a LUT. That’s developing and striking a workprint to me.
You cannot track, roto and compose “digital negative” directly. You have to debayer. That’s striking an interpositive. Well, technically you can but unless you’re one-man shop you’re better off giving your VFX team RGB DPX.
You cannot make release prints from “digital negative” because it is too slow, just like with real negative. You have to make an internegative and print from that.
Actually, right now you cannot feed “digital negative” to a film recorder at all. A lab expects you to bring graded interpositive in.
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Most of our work is footage from RED ONe and Arri D-21 nowadays so I found terms like “digital negative” for source and “digital workprint” for offline copy fit better.
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You can convert them with GraphicsMagick or ImageMagick command-line tools, but it was 8 bit per channel last time I checked. Also, Pomfort SilverStack 1.6 can read them but it cannot render to DPX, only QuickTime or TIFF.
50/60 fps shooting with ARRI is a mess. TC is half the frame rate and it will give you hell during conform. Sometimes there is a delay between two channels so you get something like this: 2,1,4,3,6,5,8,7 or even this: 10,1,2,3,4,5,6,7,8,9,20,11,12,13,14,15,16,17,18,19,30
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Я понимаю, что cinemac.ru — пыльный чуланчик, но может всё же туда?
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You can use Conform 25 to 24 in FCP. It will let you to work at the correct frame rate but still be able to generate 25 fps EDL. Make sure to set your Sequence TC to 24@25.
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[Scott Sheriff] “As far as FCP needing an overhaul, I would ask why?”
FCP user interface is fine. It is under the hood that needs a major rewrite.
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On a related subject: who at Apple or Microsoft should we plead, bribe or threaten to get TC data format supported in Excel or Numbers?
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It’s actually a 1.5 megapixel difference. At 12 bits per pixel.
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2880 x 2160 D21 footage recorded on s.two (RAW wrapped in DPX) is about 11 MB per frame. That makes current Alexa model 8 MB per frame I think.
The ecosystem s.two tries to built around Arri digital cameras looks good on paper but in real life it doesn’t work as advertised yet. Their a.dock can back up to LTO just fine but I would like to see a real person who managed to pull selects back from storage with an EDL.